In the first volume of his investigation, Deleuze examined the movement-image, which only provides an indirect image of time: time arises through succession, through the before and after of movements, held together by a sensomotoric bond, discernible in the technique of montage. The time-image does not negate the movement-image; it merely liberates time from its dependence on movement. Time is no longer just a derivative of movement; instead, it is presented directly. The actors no longer act, the action remains suspended, and time breaks into the interval; the characters seemingly move aimlessly through enigmatic spaces, seeing and hearing, remembering or falling prey to memory illusions.